Our first THANKSGIVING episode is a stretch, but you'll enjoy it regardless: BLOOD RAGE!
Does anyone remember that Rage in a Cage song? I'm not talking about that J. Geils Band song but that nu-metal one. And no, not the Pantera song either. Anyway, that was what I referencing for that one joke where I spontaneously broke into song. I thought it was funny. Anyway, here we are.
Thanksgiving is on the horizon! We are nearing the end of another year of living. And here we are watching a film about a twin who murders all in his path, especially if you exhibit any form of sexual interaction with another human being. This man is beyond delighted to enact his jealous fueled celibacy rage.
This is Blood Rage, AKA Slasher, AKA Complex, AKA Nightmare at Shadow Woods. A film with that many titles has to be 4 times as good!
Ryan: Okay, well, it's recording, so I guess whenever you're whenever you're ready.
Laura: Uh, I'm ready.
Ryan: Okay.
Laura: Well, hello there. Welcome to On the BiTTE the podcast that uncovers full frontal male nudity in cinema. My name is Laura, and I am joined by my co host, Ryan.
Ryan: Hello, Laura. It has been a while since we've been in the podcasting chair.
Laura: It has been and just the two.
Ryan: Of us, thank God.
Laura: Uh, just the two of us.
Ryan: Just the two of us back to the way it was. The way things used to be when things were simple. Very simple.
Laura: Are you calling me simple?
Ryan: No.
Laura: Better not.
Ryan: It gets complicated when we have more than a couple of people in the room.
Laura: You have to do more work.
Ryan: I have to do more work. I have to, uh, set everyone's levels according to the volume and tone of their voice. And for the most part, men are really deep and they have deep voices. Do this and they speak off it loudly.
Laura: Okay.
Ryan: And then obviously, the women are a little bit soft, turning and I whisper a little bit into the microphone. Okay, well so I don't really know. I don't do that well. No, I'm not an audio engineer either. I mean, it's a fucking miracle that I've been able to get it to sound at, uh, the quality that it is at right now. But we're back to basics for November, which is effectively the Thanksgiving month. What is Thanksgiving?
Laura: Thanksgiving is a celebration of food.
Ryan: Okay. There's nothing more to it. No.
Laura: Nope. It's about the turkey and it's about right for family forever.
Ryan: Family forever. Okay.
Speaker C: Yeah.
Ryan: No, I got that. I got that joke. I got that reference.
Laura: Thank you.
Ryan: Um yeah, that motherfucker can't stop talking.
Laura: About family because it's the most important thing to him.
Laura: Uh, so before we jump into this movie, how have you been? How have you been?
Ryan: Well, we've both been sick. I think that's the main thing. Yeah, we've both been quite ill. Um.
Laura: It only took two years for us to catch COVID Yes.
Ryan: We started letting our guard down, and then the particles that we can't see infected our bodies.
Laura: That's typically how it goes with illness and viruses.
Ryan: Yeah. Um, I don't think it's a particularly funny thing to get, and I think to some people, it really fucks them up.
Laura: Um I didn't enjoy it.
Ryan: No.
Laura: At all.
Ryan: That is certainly not what we're getting on it.
Laura: I did find, uh, a love of Ken Russell films that got me through my COVID experience, which I enjoyed very much.
Ryan: Yeah, I can't really remember what kind of the last kind of few weeks have been a little bit of a blur because I got vertigo. So everything was spinning all of the time.
Laura: Yeah, it was, um, great.
Ryan: So I wasn't the biggest fan of.
Laura: I remember when you got up one time and then you ran into the little stool fell over.
Ryan: Uh, here's the thing. You know, like when you're a kid and they do that thing where they spin you around and then they make you try and walk in a straight line? Of course, that was effectively what was happening to me every time I got up to go to the bathroom and things. Also going to the bathroom, it's like being perpetually drunk for the most part. Your head's spinning in one direction and then obviously your body is doing something else. Uh, yeah. It's not fun. And I hope if I do get it again, that doesn't come back. That's the one thing I don't want coming back is the very go.
Laura: I don't want it at all.
Ryan: No.
Laura: And I'm sorry for everyone that got it. It's awful.
Ryan: Yes. It's not great.
Ryan: But you did find that you had a love of Ken Russell, though, that kind of came into your buddy.
Laura: I love Ken Russell. I love his movies. They're weird. There's so many boobs there's. Penises.
Ryan: Yeah, I guess that's kind of where it goes to.
Laura: Yeah. So I'm pretty excited to bring him onto the podcast. I mean, not actually because he is dead, but bring his films in eventually.
Ryan: What shame. He dodged a bullet there having to be a guest on our.
Speaker C: Mean M. I don't know.
Ryan: Josh will come back.
Laura: Yeah, well, I don't know how he feels about Ken.
Ryan: Well, I don't know.
Laura: I think everything's he's not invited on the Ken episode.
Ryan: Okay. That's mean. If that's the way you feel about that so strongly, that's okay.
Speaker C: There.
Ryan: Um, you go. Um, but not to get anyone excited. We're not covering Ken Russell. He didn't do a Thanksgiving film as far as aware.
Laura: No.
Laura: Do you want me to talk about the film we're actually covering today?
Ryan: Yeah. Well, this is November and we're doing Thanksgiving movies. And what other better way to kick it all off? There's actually not a lot of Thanksgiving films. We've kind of figured that one out. There's not a ton. We're going to run out in the best part of like a couple of years.
Laura: Oh, no. We're going to run out this year, I believe maybe next year. But that is why this movie is a bit of a stretch. And we're going to take it even though it's maybe not a perfect example of the films that we typically cover. And it's also another horror film. We're not turning into a horror movie podcast, but, uh, we are coming out of Halloween. What a better way to kind of ease us out of it than to do the 1987 horror movie Blood Rage Complex? Uh, what's the other title? Slasher.
Ryan: Slasher. And my favorite, which is I don't know why they didn't stick with it, was Nightmare at Shadow Woods.
Laura: It's fine.
Ryan: Yeah, well, it's set on the Shadow Woods estate.
Laura: Estate makes it sound as though it's a lovely mansion, but it's an apartment complex in Jacksonville. Florida?
Ryan: Pretty much.
Speaker C: Yeah.
Laura: Uh, uh, probably probably the opposite.
Ryan: This film house this film is Florida as fuck.
Laura: Hell.
Speaker C: Yeah.
Laura: I've never seen a murderer have so much fun.
Ryan: Yeah.
Laura: Um, he's having a great time, and I'm really living it with him. And I feel as though it really elevates the drama and the action and the family dynamic, really, of this movie.
Ryan: This is a movie that I think is really bad, but it really is hilarious because of how bad it is.
Laura: Yeah.
Ryan: It's a fuck fest, this thing. But I mean, it's hilarious in how comically bad it is at times.
Laura: Um, yeah, it's still very enjoyable. But I guess we'll get a little bit.
Speaker C: Yeah.
Ryan: I think with an audience, this film would be an absolute fucking riot.
Laura: Oh, yeah. Absolutely.
Ryan: Ironically, it's playing at the Enzian in, uh, what? Two and a half hours.
Speaker C: Yeah.
Laura: From now.
Ryan: Um, yeah, we're recording this super fucking late.
Speaker C: Um.
Ryan: Get really tired and drunk. And then we're like, we need to record.
Laura: Oh, you meant late in the evening. I thought you meant late in we have to put out this episode in a week.
Ryan: I mean, uh, potato. Potato basically means the exact same thing.
Laura: Yeah. We, uh, couldn't figure out what to do.
Ryan: No.
Laura: Also, we were sick.
Ryan: No.
Laura: But we're never going to miss an episode, you guys.
Ryan: No. Even if it's complete trash, we'll put it out.
Laura: We typically do.
Ryan: Yeah, we usually do. Even this one, we'll see how well we do with this one.
Laura: I want to talk about a few of the people that are in this movie, because I don't know what the budget was of this film, but I know it's not a super high budget.
Ryan: I think it's probably really small.
Speaker C: Yeah.
Laura: Uh, but the actors that we have involved are interesting. Very interesting. Because you have Louise Lasser. She plays Maddie Simmons, who plays the mother of the twins in the film. And it was interesting because when I was doing research about her, I found out that she was married to Woody Allen from 1966 to 1970. She was his second wife.
Ryan: So before he kind of really hit it off with the movie stuff, I.
Laura: Guess she was in quite a few of his movies. And right after he was married to Louise, woody Allen ended up dating Diane Keaton for like a year. Immediately.
Ryan: Mean, who wouldn't? I mean, personally date Diane Keaton? Date diane Keaton.
Speaker C: Yeah.
Ryan: Who wouldn't? Honestly, she's great. Yeah. Woody Allen not so great. But certainly Diane Keaton. If she know Diane.
Laura: Diane Keaton.
Ryan: Deanne Keaton.
Laura: Also, there's a rumor that Louise Lasser is the first guest to ever be banned from Saturday Night Live.
Ryan: Okay.
Laura: She was the second to last host of the show's very first season. And they said that she had erratic behavior. And it was reported that she said that she could never come back on SNL. Uh, Mark Soper plays Tod. And terry Simmons probably should have told you the synopsis before I got into these people, but that's okay.
Ryan: Spoilers.
Laura: He didn't have a it's not a spoiler, it's a twin.
Ryan: Going to yeah, we're gonna get into the director's like filmography and how he seems to love these kind of twin situations.
Laura: Yeah. But Mark Soper didn't have a hugely fruitful acting career, but maybe a little more so than the rest of his peers in this film. But he was in a Robin Williams film. Uh, did you ever see the World According to Garp?
Ryan: I mean, off the top of my head, I'm going to say yes, but I don't remember it very fondly.
Laura: Yeah. He was also in Swordfish, which you do remember fondly.
Speaker C: Yeah.
Ryan: Uh, that's got that hacking scene in it.
Laura: Hack, hack, hack, hack, and Hugh Jackman.
Ryan: Hackety, hack, hack, Hackety, hack. It's like easily the greatest hacking hacking scene ever committed.
Laura: It really is.
Ryan: Other than hackers, because I do like that bit when it's all in slow motion and they're all in phone booths and they're rotating around and it all kind of cross dissolves between all of the actors doing the same thing, using phone booths with their laptops so slick. But it's not like the obviously forced enthusiasm of a ripped Hugh Jackman, like tapping on two or three keyboards at uh, a time and spinning around and blowing on his fingertips and stuff.
Laura: Yeah. Because it's still hot. Too hot. Too hot.
Ryan: Like it's that sort of, um yeah.
Laura: My favorite person that's in this film is a cameo, and he's in it for maybe 7 seconds.
Ryan: Yes.
Laura: Is the one and only Ted Raimi.
Ryan: Here's the thing. When I was doing the research for the film myself, one of the biggest pools for this film, according to the Wikipedia page for the film, not the director, is, uh, the fact that Ted Raimi makes an appearance in Blood Rage. So that's saying quite a lot.
Laura: He has a really interesting story that he tells in the documentary about how he came to be in this film and how without this film, he might not have been able to make a career out of oh, okay. So he was living in Detroit and he had his license revoked for an entire year because he rear ended a police officer's car.
Ryan: Okay.
Laura: And because you can't get around Detroit without a car, it's impossible. He had to move back to New York and live with his father. And his father said, all right, you have a year. You have one year, and if you do not get paid acting job, like one paid acting job within the year, it's over. You have to come work with me.
Ryan: Yeah.
Laura: So one year passes and he goes, oh, no, he didn't get a job in that whole year.
Ryan: Okay.
Laura: He sends a letter to his father. Maybe he wasn't living with him. I'm confused. Whatever. Doesn't matter. He ends up sending a letter to his father saying, all right, it's over. I failed. You were right. I'm coming to work with you. And two days after he sent the letter, he got an offer to play the condom salesman in Blood Rage.
Ryan: Yeah. Uh, he's selling Robert Johnny's in the.
Laura: Bog for like a dollar for 250 cents apiece.
Speaker C: Yeah.
Ryan: He's got like a fucking he's got stacks of, uh, Trojans, like, in his coat.
Laura: It's great.
Ryan: Um, yeah. I mean, it's a role.
Laura: Yeah. I guess getting a small role in your brother's films doesn't really count.
Ryan: No, but then I don't know what Ted Raimi's first proper role was, though. Because he's in Sam Raimi's stuff. You just don't see him as much.
Laura: He is. But this was filmed in 1983, but wasn't released until 1987. So if you look at his filmography, it looks a little skewed. But according to when the film was actually shot, this was his first film and his first paid film.
Ryan: Right. Because I don't know. When did Maniac Cop come out? Because that's probably one of the earliest ones I remember. Other than everyone's going to start screaming at us. But yeah, of course he's in Evil Dead Two and stuff. But you don't know that's him.
Laura: Right. And I don't think that his father considers that a job. No, he was 19 when he got Blood Rage.
Ryan: Oh, wow.
Speaker C: Okay. Yeah.
Laura: He was a baby.
Ryan: Okay. That's fine. All right. Well, uh, yes, that is considered, uh, youthful, I guess.
Laura: Yeah.
Ryan: And he does look yeah, I mean, he's in the film for maybe 10 seconds.
Laura: Yeah.
Ryan: That's about it, really. Um, but he is definitely the highlight. He is definitely the highlight of the film for me, anyway.
Laura: I remember saying hello to Ted Raimi at, ah, a convention several years ago. And he was at the bar. And I don't know what I said because I was too nervous. But he was very nice. He's a nice human being.
Ryan: Okay, good.
Laura: This film is directed was directed by John Grismr.
Ryan: Yes. Although he's credited as John M. Grismr.
Laura: He is. But you did some really interesting research today on John. And, uh, I want to hear all about it.
Ryan: I mean, to be fair, this is OD for me, mean, I guess other than the director of Night of the Demon, who if you've not seen, there's Night of the Demon and there's Night of the Demons. Night of the Demon is that really low budget, um, angry sasquatch movie.
Laura: If you are a listener of the podcast, you probably heard that episode that's easily.
Ryan: Maybe one of my favorite episodes because that film is ridonkulous it's on YouTube. But, uh, yeah, you can definitely get that. But that guy only made one thing and he has no biography whatsoever.
Speaker C: Yeah.
Laura: Couldn't find him at all.
Ryan: We thought he owns a dentist's office.
Laura: Yeah, something like that.
Speaker C: Yeah.
Ryan: I mean, I guess if you work in film, you have ties to dental surgeries all over the but, um what? Yeah, well, we were talking about Ted and Sam Raimi. Sam Raimi got his money by getting, uh, his funding for The Evil Dead from dentists. Because they have money.
Laura: What?
Ryan: Yeah, he got money from people who were, like, in the dental trade.
Laura: That's how he got his dad a dentist.
Ryan: Yeah, but he also knew people his.
Laura: Dad were dental dentist.
Ryan: Maybe, but I'm not talking about his dad. I'm talking about, like, that's how he was able to fund The Evil Dead.
Laura: I'm going to need some references.
Ryan: He got funding from weird that you're.
Laura: Making it, uh, up.
Ryan: Well, it's not weird because it's funded.
Laura: By the Dental Association of it was.
Ryan: Funded by dentists who gave him money to fund The Evil Dead. I don't believe it's. One of the most famous stories of the making of a film ever told.
Laura: I've never heard that. And I've read books on Evil Dead.
Ryan: And I never heard and you do a film podcast and you don't know.
Speaker C: Okay. Okay.
Laura: Tell me about John.
Ryan: So John was kind of difficult to research because he doesn't have a Wikipedia page. His films do, and they are scant. Um, certainly the most in depth I got was, uh, as IMDb biography basically says, john Grismore is known for, and I'm going to list the three films that he's got an attachment to. And then that's basically about it. Um, but he is, from what I was able to gather, from several different sources because he's still working to this day. He's also a professor.
Laura: Okay.
Ryan: As well. He has a master's in dramatic writing as well. I also connected with him on LinkedIn.
Laura: He's a part of your LinkedIn network?
Ryan: Yes, he is now. Um, yeah. So he's a professor. As far as I'm aware, he's a professor at the Catholic University of America. Um, and he's basically a dramatic arts professor over there.
Laura: All right.
Ryan: Um, but we're not really interested about it. He did write a book, his newest book, or at least the one that I noticed that he'd written all the way back in 2020, was entitled how to Write an Irish Play.
Laura: Wow.
Ryan: Yeah. He's got more ties to theater and Broadway as, like, a theater producer and a writer.
Speaker C: Um.
Ryan: He has written most of his films other than Blood Rage, which I don't think he has any part in. It's written by a completely different person.
Laura: Okay.
Ryan: Um, but he's known for three films. He co wrote The Bride in 1973, but that was directed by someone called Jean Marie PELV, I think is what it is. I'm not very good with French.
Laura: Really good French accent.
Ryan: Yeah. But there's a film out there called The Bride, which I think is the film that we see a clip of on the TV. In blood rage.
Laura: Cool.
Ryan: Um, but also, whoever the lead actor is in The Bride is the exact same lead actor who's in his actual directorial debut, which is a film called Scalpel in 1977 that we watched just yesterday.
Laura: We did watch it, and I really liked it. Well, a three and a half star liked it.
Ryan: I think it was fine.
Speaker C: Yeah.
Ryan: I thought like, I was expecting something fucking terrible. Um, but there's a lot of weird parallels between Scalpel and then obviously what is Blood? Uh, Rage? Um, but Scalpel scalpel was the story of a plastic surgeon who, in his efforts to, uh, put this way, he finds a woman on the street and he restructures her face to look like his lost daughter, because he can then inherit, uh, his father's inheritance that was left to his daughter and his daughter only. Yes. Um, so as you might be able to gather from that, you then end up finding that the daughter comes home and he's now got another person in the house who looks exactly like his daughter. And it all kind of gets I mean, Josh isn't here because he would love it. It all gets a little bit incestuous.
Laura: Spoilers.
Ryan: Yeah.
Laura: You know what? And I feel bad because we've been going and going and I haven't told the synopsis of this movie. We need to restructure this. I need to bring it up earlier.
Ryan: I mean, to be fair, it really doesn't matter. I'm not finished with need to.
Laura: We've told a synopsis of a different film before I even got to the film. We're talking.
Ryan: Well, I wanted to bring it up because I think Scalpel and Blood Rage have kind of interesting parallels. They do to them, they do. Um, but I mean, John's work doesn't have the highest of reviews. I think with audience members, it's like sub twenty s and thirty s on like Rotten Tomatoes and stuff. Whether you agree with any of that stuff, it really doesn't matter.
Speaker C: No.
Ryan: Um, his stuff's kind of middle of the road anyway. Um, but, uh, if I was to, um, there's some funny things. I've got his LinkedIn bio. Like he's written his own bio and stuff like that. Uh, so I am a playwright, composer, film director, director, Scalpel, feature film director, blood Rage feature film. Um, but also, uh, if anyone's familiar with the Watch, If You Dare podcast, um, they review Blood Rage every year for Thanksgiving. And sometimes, because this film has multiple titles as well, they try and trick their listeners into thinking it's something different. But they just use one of the other alternate titles that this movie was referred under when it was released and rereleased several times to try and make people think it was something different.
Laura: It's like the classic Paul rudd Mac and Me joke.
Ryan: Uh, yeah, kinda. Kinda. Um, love it. There's a charm to Blood Rage, which I think we'll get into, but, uh, that covers John Grismare. I mean, John is still with us to this day.
Laura: A little LinkedIn message and say everything.
Ryan: Yeah, I'll use, uh, up one of my LinkedIn bucks, my Message bucks, and, uh, maybe send him a little message and be like, yo, we did a podcast on you, John, and we'll see how well that turns.
Ryan: Know we know this film is set in Thanksgiving, and its locale its locale, let's say, is, uh, Jacksonville in Florida. Which I think is why it gets a little bit more renewed interest in Florida, just in general.
Laura: We Florida people love a Florida movie.
Ryan: You like to attach yourself to films that are set in Florida or Florida locales.
Speaker C: Yes.
Laura: It's nice to see where you live on the big screen.
Speaker C: Yeah.
Ryan: Like bad boys. That's cool.
Laura: Yeah, Bad Boys is great.
Ryan: Wild Things, miami Connection, florida Project. Um, yeah, I don't remember. I don't know how many. There's probably million. No, there's probably a few more. Well, it's the Florida Keys. Isn't that true lies?
Laura: Yeah.
Ryan: There you go. See? I know, my fucking shit. Um, but this film yeah, just to kind of wrap up. Anyway, this film also got, uh, like a proper release in 2015, uh, from Arrow Films, the fantastic DVD, uh, Bluray, uh, Provider. Um, and, yeah, um, you know what?
Laura: Probably by the time that this episode comes out, because it's not very long from now, everyone should go check out Barnes and Noble sale because they've got the Criterion and the Arrow films on sale because we went there today and dropped $100.
Ryan: Yes, well, that always happens whenever that sale comes in.
Laura: What did we buy today? Reanimator, basket case, crimes of passion, graveyard of honor.
Ryan: Double disc DVD set, including the Kinji Fukasaku original from 1975. And the Kit Takeshi Mike remake in.
Laura: The you got one other thing.
Ryan: Cure the Kyoshi Kurosawa. I, uh, don't know if it's his debut. He made it in 94, I think. But he also made a movie called Pulse, which is a horror movie I quite enjoy. I don't that is fine. You like stuff like The Stepfather, so you can't tell me.
Laura: The Stepfather is a five star movie. Don't ever put down the stepfather. I love the stepfather.
Ryan: Whatever, Terry.
Laura: O'clinn.
Ryan: Yeah.
Laura: The synopsis for this film blood Rage.
Ryan: For blood rage.
Laura: Blood Rage. Blood Rage.
Ryan: I mean, slasher 30 minutes into complex. I mean, uh, nightmare at.
Laura: Okay, be quiet now. I'm ready.
Speaker C: Okay.
Laura: In 1974, Terry commits a murder and pins it on his twin brother, Todd. Ten years later, Tod escapes from a mental institution on the same day as Terry's murderous instincts resurface.
Ryan: Holy shit. I'm in a blood rage in a cage. Join my age on the stage getting ready to pillage.
Laura: Wow. The tagline for this film is ready for this?
Ryan: Yeah.
Laura: Not all the evil is on Elm Street. You guys. This is a Thanksgiving movie. It starts, like, not right away, but the movie opens in Jacksonville at a drive in theater where everyone's getting busy. Everyone's cars inside the cars in the streets. Everyone's boning. There's boobies.
Ryan: There is boobies.
Laura: I mean, there's like hairy backs and everything. People are really going to town. And this is where you meet our family?
Ryan: We do. Yes, we meet.
Laura: You just say mama.
Ryan: Okay.
Speaker C: Mama.
Ryan: So Mama's in the car with her then boyfriend. He is definitely not straight up to the kids.
Laura: He's got clothes.
Ryan: Well, they're trying to get busy.
Laura: They're trying to have a romance. While her twin boys are having a nap in the back of their station wagon.
Ryan: It's a station wagon? Yeah.
Laura: With a gun laying on top of them.
Ryan: So we find out later on in the kids bedroom, there is a toy gun. But I did look at it and I was just like, that's like an M 16. Just like resting on the legs of one of the boys.
Laura: I assumed it's maybe a BB gun or an air rifle. Probably for kids.
Speaker C: Yeah.
Ryan: I mean, I would like to think it was M a fucking it looks like what they used in the Vietnam War to blow folk away.
Laura: Oh my.
Ryan: So that's what it looks like.
Laura: Well, these boys are back there. The mom and the boyfriend decide to continue getting romantic at the drive in. And the boys sneak away.
Ryan: Yes.
Laura: Oh my gosh. These are the bad boys. A couple of real bad boys.
Ryan: This is also like incredibly stupid. Um, well, I mean, the minute the movie started, um, I went, nice popcorn. Because they're all eating popcorn.
Laura: Well, yeah, they're the drive in. You got popcorn going. You got everyone making out.
Speaker C: I don't know.
Ryan: Everyone's smooching.
Laura: Music is amazing right from the get go. It's fun. Music makes you really want to go to the movies.
Speaker C: Okay.
Laura: A big old tub of popcorn for a dollar back in 1983.
Ryan: I mean, basically one of them takes an axe and they find one of the couples and the guy's just like, get out of here. You free.
Laura: This is the naked and they're a fully naked couple. They're so naked in the back of a car. And one of the boys yeah. Grabbed a hand axe and is staring at these two people boning in the back of a car.
Ryan: Yeah.
Laura: The guy looks up and the little boy just smashes this guy in the face with an axe.
Ryan: Fucks him up big time.
Laura: I mean, yeah.
Ryan: Uh, he butchers that dude's face hard. Yes.
Laura: Cross his eyeball. It's so gross.
Ryan: Yes.
Ryan: We've said that the kids are called Todd and Terry.
Laura: And it's a bad one.
Ryan: We're going to try our best to keep on top of this because Todd and Terry you asked me no less.
Laura: Than eight times during this film.
Ryan: Which one's that? Yeah, which one's that?
Laura: And it's so obvious which one's not.
Ryan: It'S not that obvious at all.
Laura: Todd never changes his clothes.
Ryan: M. Okay. Well, I still got confused. Well, no. Who's the bad one? Terry.
Laura: Terry.
Ryan: Right. And then Todd's the innocent one.
Laura: Yes. Because at this point in the film, you have Terry smashing this naked man in the face.
Ryan: Yes.
Laura: Then he turns around, shoves the axe in his brother Todd's hand, and slaps his face covered with blood. So then he starts screaming and blaming the murder on his other brother.
Ryan: Yes.
Laura: Which is where the film basically, this.
Ryan: Is where the film kind of starts, I guess. Yeah. This is where it's you got the.
Laura: Bad boy brother pinning a murder on the nice boy brother.
Ryan: Yeah. I mean, other than the fact that obviously no investigation is done at the time, but pretty much they just take his word for it. And for ten years, the poor Todd, the innocent boy.
Laura: I feel like Todd might be a little bit simple.
Ryan: Uh oh, really? That's your explanation for everything, though, Laura?
Laura: Well, he just stood there. He just stood there while his brother slaps blood in his face. He doesn't say anything.
Ryan: Well, if your brother had, like, hacked off tried or tried to hack off, you would have ran away, probably.
Speaker C: Okay.
Laura: Found a cop. Uh, found somebody. My brother just butchered some naked dude's face.
Ryan: Yeah, I guess so.
Laura: My brothers wouldn't do that. They're good boys.
Ryan: And you're talking to someone. I own at least three different axes. That's true, because I used to throw them.
Laura: That doesn't fill me with a lot of confidence.
Ryan: Well, now I don't have anything to throw them at. That's the issue.
Laura: You're going to need some naked guy's face.
Ryan: Well, I don't know. I mean, obviously it shouldn't be called blood rage. It should be called, uh, sex rage. Because every time someone's like, looking to get busy or someone's like, he's just like, fuck it, I'm going to fucking kill them.
Laura: It's very strange.
Ryan: I mean, that's kind of what happened.
Laura: The film jumps ten years. Okay.
Ryan: It does jump ten years.
Laura: Jumps ten years. And this is where we're at Shadow Woods. Well, we go to the well, it doesn't matter. She goes to the hospital. Remember, the mom goes to the hospital to visit Todd. Todd, the good boy son, the good. And bring him pumpkin pie for Thanksgiving. He likes the Thanksgiving movie.
Ryan: He always gets a pumpkin pie, as we find out.
Laura: And she describes to the operator on the telephone leader wrapped up in a little box and tied up every year for Thanksgiving.
Ryan: It makes me kind of think that maybe this film isn't that great, because there's loads of times where something happens and you, me look at each other and we're like, the fuck is this? What's going on here? Um, but I mean, it's ridiculous. It's silly. Um, but also this visit to the hospital, for whatever reason, and the only reason I can put behind this kind of like, this funking voiceover that goes over the top of this scene is purely because the scene itself was not able to translate what they needed to. Tell in the story. So it ends up being this horrific exposition dump. And it's awful.
Laura: It's crazy because the doctor is talking to the mother. They're having a conversation about Todd, and then the doctor's voice just gets loud because it turns into a voiceover. But it's the same voice of the person who was just talking. It just sounds as though there was an audio mix up or a sound mixing problem where her voice just got really loud.
Ryan: Well, I mean, the thing is, I've not got an issue with, uh, how loud it gets. I have an issue with how disjointed this voiceover is in terms of as a storytelling thing, because, to be perfectly honest, the voiceover never comes back. It's just here for this one scene, which I'm assuming it is only there, and I use Blade Runner as, like, a very kind of distinct comparison to this. It comes in like a fucking bag of hammers. And you're just like, oh, it's just pulled me out of the whole fucking movie. This is disgusting.
Laura: It's so strange.
Laura: I do wonder because there are, uh, at least three different versions of this film, from what I've understood, and we've only watched the one version. But I wonder if there's other, I don't know, takes of that particular scene.
Ryan: I think this has a relatively quite tumultuous production, hence why it's filmed and then four years later is then eventually released, and then it's rereleased under different names and all this sort of stuff. But really, the only reason to have that scene included at all is to show where Todd is and who Todd is and what the mother's doing, but then also to try and fill in some of the gaps, because the film's only 80 something minutes long and it's like we need to just basically dump in what happened over the last ten years. And here's this horrible voiceover.
Laura: Well, you get to see Todd just take the pumpkin pie out of the box and squish it in his fingers and throw it against a wall.
Ryan: The thing is, the voiceover was so jarring that's one of the only things I can really remember I don't really kind of remember any of the visual stuff. I was kind of just listening to how hard and abrasive it was.
Laura: I do remember them saying that Tod just happened to remember that he wasn't the one that murdered that guy, as though he just woke up from a coma or some such thing. But he just remembered that it was Terry that did the murder, yet no one believed him.
Ryan: Uh, yeah, well, what we've figured out.
Laura: Doctor, I think, believed him, that it was Terry that did the murder. But it's so strange that where do you go from there? From a, uh, ten year old situation?
Ryan: Well, I can already tell from my notes, I've already mixed up Tod and Terry.
Laura: Oh, no.
Ryan: Already? So, um, basically I've got a note that just says Terry is a bit mental.
Laura: Well, Terry's the murderer.
Ryan: Probably Tod.
Laura: Todd is fine.
Ryan: Well, yeah, they say Tod is fine. Tod looks a little bit tired. I mean, he's only because.
Laura: They said he did a murder and he didn't.
Ryan: Yeah, but I mean, if you thought that scene at the hospital was at all jarring, we then have this scene in the house, the Thanksgiving dinner, uh, which is a, uh, fucking feast. Let's be honest. A feast for the eyes and for the ears.
Laura: I don't know what to say. With all their very large glasses of wine and Terry's very, very large glass of milk.
Ryan: The film should be called Wine Rage. Just everyone is intoxicated on large glasses of wine.
Laura: It's just filled to the top of the glass.
Ryan: The fucking brim. Like right to the brim. There's no give. And it's obvious no one's letting that wine breathe. They're just drinking up.
Speaker C: Yeah.
Laura: They're just going to town.
Ryan: Yeah.
Laura: That was the whole film's budget was on large glasses of wine.
Ryan: I love a dinner scene that starts right in the middle of what might have been a joke, where it's you never told me that one.
Laura: Yeah, it's so good.
Ryan: It's fucking, um, amazing. Love it so much. So good.
Laura: It's such a weird dinner scene. I don't know who these people are. I don't know what they're doing there.
Ryan: Well, we find, uh, out who they all are and stuff like that. But they're all friends of it's. Terry, right? The crazy one. The one who's doing the murdering, not the murderer.
Speaker C: Yeah.
Laura: It's Terry's girlfriend. And then the new neighbor shows up.
Ryan: The new neighbor who's also a bit horny and blonde very much. And again, they're difficult to kind of distinguish between as well, like the girlfriend and the new neighbor, other than like they have the exact same sort of hair and face structure and stuff. But they just dress slightly differently.
Laura: One's quite conservative and the other one wants sex.
Ryan: Yeah. Uh, well, this is an 80s movie, so she's a bit more, uh, braless. Yeah. Like the humidity has gone to her hair is Florida.
Speaker C: Yeah.
Ryan: Well, I mean, that's what happens. Well, I mean, the only thing the scene is what it mean? What really, really bothered me, and it bothered me the entire time, and I'm so glad he was able to change, was Terry has like an open collar and a tie that's just wrapped around his neck real loose.
Speaker C: Yeah.
Ryan: So the collar's up, but the tie is tied around his neck, but the collar's not put down.
Speaker C: Yeah.
Laura: Pop collar.
Ryan: And I have a real issue with that.
Laura: It's fashion, Ryan. It's fashion.
Ryan: Uh, I mean, they should have been able to tell from that one moment. No, he's definitely doing some murdering because he's murdering some fucking fashion sense right there. It's fucking horrific. Absolutely horrific.
Laura: I don't know. There was a lot of fashion issues in this film. The mom's weird doll hairstyle. Those curls that were so tight.
Speaker C: Uh huh.
Laura: And her little bows and her pushed up boobs. It was strange to look at.
Speaker C: Yeah.
Ryan: It did look like she was being suffocated by her push up bra.
Laura: I did enjoy her very much, though. She made me laugh a lot. And I don't know if she was really drunk during this film, but I felt really good about her choices.
Ryan: Yes. Okay. Well, uh, she's definitely a character, we'll put it that way.
Laura: She said during one of the documentaries that she didn't really know what to do during the film, and it was really surprises there. She said it was really difficult, and she found it difficult to find her way and her motivations and everything was confusing.
Ryan: The film itself is a little bit it's incredibly rushed. And like, Terry's Motivate, because I'm assuming Terry's not been doing an awful lot of killing.
Laura: Terry hasn't killed anyone in ten years. No. And I don't know if his motivation was due to the fact that his mom was kissing somebody, because it seems to reawaken in him when he finds out that his mother is engaged and kiss rage.
Ryan: Yeah.
Laura: Kissy rage. Mom boner rage.
Ryan: But he'll quite happily kiss his girlfriend and stuff like that and not really have the kind of trigger for murderous intent either.
Laura: He hasn't also had sex with his girlfriend. With Karen.
Speaker C: Yeah.
Ryan: So maybe he's got some sort of repressed, sexy issues.
Speaker C: Right.
Laura: Well, that would kind of line up with a classic slasher rules.
Ryan: I guess so.
Speaker C: Yeah.
Ryan: The film's not incredibly deep. Let's not give the illusion that it is. Um, but yes. Well, basically, Todd escapes from the hospital. He does?
Speaker C: Yeah.
Ryan: Good for him. And the psychologists I mean, I'm assuming that the psychologist the original doctor and the doctor's aide, who's kind of like this jock fella Jackie yeah. Knock, uh, on the door, grab Terry, just like, I got him. And it's like that's his twin brother. And there's a lot of that that goes on. Don't get too disrupted. That happened no less than a hundred times.
Laura: You got confused, too.
Ryan: I did get confused, but it's probably not because it's good. But end of the day, uh, I like that bit where Maddie looks at and she's like, what's that gun?
Laura: Yes. What's that gun?
Ryan: It's also a gun that we never see again.
Speaker C: Yeah.
Laura: Oh, don't worry. It's just a tranquilizer gun that looks.
Ryan: Not like a tranquilizer it doesn't look like a trank gun. But basically, once that gun goes into a bag, it turns into a completely different gun later.
Speaker C: On.
Ryan: It's all right.
Laura: They're doing their best.
Speaker C: Yeah.
Ryan: Well, there is that issue when you put something into a bag, like handbag or something, it evolves into its next form. So a tranquilizer gun will evolve into a gun that fires bullets.
Speaker C: Yeah.
Ryan: And the longer you keep it in that bag, it will grow up to become a shotgun.
Laura: There's no shotguns in this movie.
Ryan: No, but she didn't leave her little snub nose in her bag long enough so it didn't turn into a shotgun. It needed time to grow. It's like cress.
Speaker C: So.
Ryan: Weird. Guns need to grow up. That's what people seem to forget.
Laura: I don't know.
Laura: Terry goes on a blood rampage.
Ryan: Fucking Terry. Blood rage fucking Terry.
Laura: He just off there and he's just off his nut. And he is just with a machete.
Ryan: He is sharpest.
Laura: Yes. Machete I've ever seen.
Ryan: He cuts the fucking doctor in half.
Laura: He cuts off his new dad's hand that has a can of Old Style in it, which is really good.
Ryan: There's a few cans of Old Style.
Laura: In the movie that they obviously brought from well, I think state lines because they don't sell that in Florida.
Ryan: No, but it must have been the same six pack because they were just like, no, we got a beer here. One of the prop guys just got this.
Laura: We got a bunch of old style we brought from New Jersey.
Ryan: Yeah, he's got to drive 6 hours back home and then come back to set the next day. But yeah, here he is. Just make sure you pick up some Old Styles on the way back.
Laura: While Terry's on his blood rage rampage, his mom is freaking out thinking that Tod is going to come back and I don't know, murder her or something. I don't know why she's so worried. She visits her son in the hospital all the time, but all of a sudden she's quite worried that he's going to come back.
Ryan: It's a Michael Myers situation, though. They always come back to the house they were born in.
Laura: Well, she's making herself extra large glasses of wine.
Ryan: Yeah, she is. Big Wine, as, um, I've decided to call her from now on. Big Wine.
Laura: Her favorite son is just slashing around in the woods.
Speaker C: Yes.
Ryan: Well, he's cutting people up and he's using his machete. He's going all Jason on it. Yeah. Todd is michael. Terry is Jason. And he's just kind of going at it like a crazy fucker. And obviously Todd's just kind of mixed up in the rest of, uh, telling.
Laura: This amazing joke that he tells no less than three times during this film. Terry, when he kills somebody, when he gets blood on himself, whenever the opportunity arises because it's a Thanksgiving film. He keeps saying, it's not cranberry sauce. Yes, it's not cranberry sauce. Uh oh, god.
Ryan: It's not cranberry sauce.
Laura: He says artie. That is not cranberry sauce. Artie. So many times.
Ryan: Yeah, he does it quite a few times. I mean, to make himself feel better. Maybe it's just a fucking, um he's funny.
Laura: This is when he starts having a good time.
Speaker C: Maybe.
Ryan: It depends. Maybe he just had to be there. It was maybe a real barn burner. Uh, on the set. They were just like fucking l we've struck gold, this particular line. Yeah, because there's some fucking silly bullshit. I mean, there's a point where some of them do some tequila slammers with some lemons, which is not the citrus fruit of choice.
Speaker C: No.
Laura: Why would you do I've never done the salt tequila in a lemon. You do that with a lime.
Ryan: You do it with a lime.
Speaker C: Yes.
Ryan: But also they keep on referring to Tod as Terry's crazy brother, no less than a hundred times over the course of the movie.
Laura: Crazy look in his eyes.
Ryan: But also, there's a lot of other kind of technical issues that I also have with the movie where the points of focus are out of focus. So there's even a shot with the doctor who's obviously buried in the ground and they've obviously put some makeup on to make it look like her entrails and stuff are hanging out of her bottom because her legs are in a different part of the woods. Um, but that's all completely out of focus. Yeah, it happens a few times. It happens quite a few times. Um, where the points of focus are all over the place. Basically, all the points of focus that are not on the things you want to see, which are like the gruesome stuff and the blood and gore and all that sort of thing. Or, uh, Maddie's call, uh, to the operator, um, to try and get a hold of her, uh, boyfriend, whose hand and, uh, as we find out later, his head was, uh, split in half.
Laura: I keep wondering if she didn't go over to her boyfriend fiance's office, which is in the same apartment complex for whatever reason, and just knock on the door and see if he's okay. But she just takes a shower, glugging wine and calling the operator to get in touch with her boyfriend when he's around the corner. She just walked there and just assumed she was too hammered to do it.
Ryan: Well, she's also yeah, I mean, she's super hammered. There's even a shot that's completely and utterly fucking useless and doesn't need to be there, where it's just a shot of the hallway and she comes out sloshing about and she's like, Derry.
Speaker C: Derry.
Ryan: And then she slumps on the wall and just slides down and falls asleep in the hallway.
Laura: She's turkey drunk.
Ryan: She's sad. She's turkey drunk. She's big wine. She is big wine.
Laura: She's big wine and she's scared.
Speaker C: Yeah.
Ryan: And she's spilling her heart out to the operator, who's just like, yeah, sorry, m miss, what's the number you're wanting me to connect you to? Um, but she does find her boyfriend eventually.
Speaker C: Yeah.
Ryan: Um, so it's like, oh, fuck.
Ryan: Um, but as you would guess there's horny teens in this movie. Well, we say horny teens. They're not teens. They're kind of well, no, they are probably teens.
Laura: Well, they're college. They're maybe 20.
Ryan: They're college juniors. 2021 years old.
Speaker C: Yeah.
Ryan: And it's obvious they all want to bone. That's basically what it that's all they talk about.
Laura: Everyone except for Terry and Terry's girlfriend when she mistakes Todd for Terry.
Speaker C: Yes.
Ryan: A lot of that happens.
Laura: Uh, says to him something along the lines of, terry, I want you to make love to me. Are you surprised? So that was weird. And then Todd tells her that he's never kissed a woman before, which she.
Ryan: Finds horrifying she cannot contain. Uh said, yeah, she did. She said she almost pissed herself. Almost peed a little bit.
Speaker C: Yeah.
Ryan: One of the other guys ends up getting with that neighbor chick who wanted.
Laura: To obviously get with Terry. Wanted literally any wiener she could possibly get her hair.
Speaker C: Yeah.
Ryan: Pretty much.
Laura: She tried to get Terry's wiener. She tried to get all the neighbors wieners.
Speaker C: Yeah.
Laura: She finally got one. There's that weird, weird, weird scene that I could not wrap my head around, where there's four people two guys, two girls, and they're hanging out at the horny girl's apartment.
Speaker C: Right.
Ryan: Yeah. Horny neighbor.
Laura: So then the horny girl and one of the guys is in the bedroom, and it's so strange. The other two come in to check on them for whatever reason.
Speaker C: Yeah.
Ryan: Because there's a scream.
Laura: There was a scream.
Ryan: There was a scream.
Laura: Yeah.
Speaker C: Okay.
Laura: Huh. So they come in to check on the two of them who have been fooling around and whatnot, and the horny girl jumps out of the bed and has this monster makeup all over her face.
Ryan: Yeah. Latex mask. Yeah.
Laura: It's weird.
Speaker C: Yeah.
Laura: Because it's not a mask.
Speaker C: Right.
Laura: It's not the mask that you would imagine you get from the Spirit Halloween store, and you pop on a mask. It's makeup.
Ryan: It's actual latex makeup. Like, they took time, gluing it on their face. Yeah. And then painting it.
Laura: Yeah. And I don't understand why they were in there. Maybe fooling around and having sex, but then also taking a good hour to put all of this special effects makeup on her face. And then the guy that she was fooling around with jumps out of the closet with an axe. Yeah.
Ryan: For fun.
Speaker C: Yeah.
Ryan: Uh, for funsies. It's a little bit nonsensical. I'll give it.
Laura: That. I loved it. I'm not saying I didn't like it. I just don't think it made any sense.
Ryan: It was very strange. Well, I mean, it gets better, though, because they end up doing a little bit of night tennis. You know, like the REM song.
Laura: Is that an actual REM song?
Ryan: No, it's night swimming.
Laura: But, I mean, night tennis.
Speaker C: Yeah.
Ryan: Well, they do some night swimming.
Laura: Later. 54 minutes and 30 seconds.
Speaker C: Yes.
Laura: We have our full frontal scene.
Speaker C: Yeah. Ah.
Laura: So I did say at the beginning of this episode that this is a bit of a stretch.
Ryan: Yeah.
Laura: Uh, wanted to bring a Thanksgiving movie in, and we don't have a lot of choices. So if you watch this movie and you go, I barely saw any you're not wrong. No, but we can do whatever we want here because it's our podcast.
Ryan: We set the rules.
Laura: We make the rules. And I swear I saw a little something popping up. And we watched that scene five. Yeah, we did. We've done movies worse than this.
Ryan: We have. Yeah. We've considered films worse than this. Yes. Um, but this one's fun.
Speaker C: Yeah.
Ryan: Well what do you mean? The Village People film? Yeah, that was a tough one. Yeah. Uh, that one was a kind of rough one to sell.
Laura: This one's a little bit better.
Speaker C: Whatever.
Laura: You guys watch it and you let me know what you think.
Laura: Ah, but we've got the horny girl and the other guy. I don't remember their names.
Ryan: The other guys are like, basically the same thing.
Laura: Maybe Allison and Gary. I don't remember Gary. But the horny girl and the guy.
Ryan: No, one of them's called Fred. Because I've got a quote. I think it's called Fred.
Laura: Fred and Allison.
Ryan: Fred and Allison. They're on the diving board.
Laura: They're doing gentle and delicate kisses.
Speaker C: Yeah.
Ryan: They're completely bollock naked. We've already seen her naked because she showers. And we see her pubes and stuff.
Laura: Already.
Ryan: Um, yes, she's fully naked. And we see a bunch of his pubes.
Laura: So yeah. I mean, they're naked. So what do you expect?
Speaker C: Yeah.
Laura: Some delicate kisses. It looks maybe as though they're really falling in love with each other.
Speaker C: Maybe. Yeah.
Ryan: It's all short lived anyway, because Terry comes in. Terry shows up bad out of hell.
Laura: Yeah. Tells him they're being bad.
Speaker C: Boys.
Ryan: And he slashes Fred, cuts Fred's neck, uh, with the machete. Gets him right in the neck and then pushes him into the water. And that's when you see a little bob. A little bobbing?
Laura: Yeah.
Ryan: You see a little bit pop out. Pop.
Laura: Out.
Ryan: Yeah. If it was any less pronounced, you would think that Fred was a mean. That's kind of, uh, how there's plenty of pubes.
Laura: But it's actually quite interesting how the movement occurs to where you don't really see that much. I find it always very fascinating when you have an actor being able to discreetly hide it, seal themselves in such a, um you still it's still there. Yeah. Perhaps it's accidental.
Ryan: It's probably accidental. But either way, uh, but you get a peek. He pushes him into the water, and he's like, bad.
Speaker C: Fred.
Ryan: Bad.
Laura: Yeah. I mean, at least it evens it out just slightly. Yeah, just ever so slightly. But yeah. He gets thrown into the pool.
Ryan: Blood everywhere.
Speaker C: Yeah.
Laura: And then he nicks Allison, the girl in the face.
Speaker C: Yeah.
Ryan: But then he finishes her off. Off camera.
Speaker C: Yeah.
Laura: You hear and not sexy way.
Ryan: No, he doesn't finish off on her. He just dispatches her off camera. Off screen. Um, I guess.
Speaker C: Yeah.
Ryan: I mean, that covers the dig very it's very unremarkable, I would say.
Laura: But it's a Thanksgiving movie.
Ryan: It's a Thanksgiving movie.
Speaker C: Yeah.
Ryan: This has turkey in it and stuff. We got to cover them anyway. Someone would complain if we didn't. Yeah, there's something there.
Ryan: Okay. Sorry, Terry.
Laura: Uh, sorry, Terry.
Speaker C: Yeah.
Ryan: I mean, kind of keep a long story short. I mean, eventually they figure out, well, hold on. The mother stumbles on where the boyfriend is and finds his fucking dead ass. And then there's a final confrontation between Todd, Terry, and the yes.
Speaker C: Yeah.
Ryan: And the mother shoots Terry, thinking it's Todd. Yeah. Uh, quite a number of times. And fucking absolutely fucking murders him.
Laura: Maybe shoots him six times.
Speaker C: Yeah.
Ryan: And then she can't live with herself. And she's well, Tod's screaming, I'm Todd. I'm Tod. And then she's screaming, that was Terry. Like, continually. And then she just blows her fucking head off.
Laura: Well, you really jumped into that end.
Ryan: Yeah, well, I don't really want yeah, I mean, that's basically what happens. That's all that kind of happens here.
Laura: I thought she finally figured out the truth because she sees Terry's bloody Nike shirt in the bin. And so I thought she put two and two together. Okay. So my son Terry was wearing this shirt. It's covered in blood. He obviously dumped it here. Maybe the doctor was right, because the doctor told her in the beginning of the film, you know, Todd told me that it wasn't him that did the murdering. It was your other son. So I thought she was going to know this moment of clarity. But she didn't.
Ryan: No. Well, she was seduced by big wine.
Speaker C: And I.
Ryan: Think, uh, she just was looking to put an end to her horrible dating cycle that she'd been trapped in for the last decade.
Laura: It's just this moment as well before Tod goes on his I'm tod I'm tod monologue m that he shoots into. She's holding him and petting him and stroking him and talking to him like we talk to our dog. She's stroking his head, going, you're the bestest boy. You're the best. You're the bestest boy. You're my favorite son.
Ryan: Uh, yeah, Terry. Yeah, Terry.
Speaker C: Yeah.
Laura: There is this whole thing and I don't know if it's a John Grismr thing, but from the two films that we watched of his, from Scalpel to Blood Rage, there's obviously parallels with twins.
Ryan: There's twin problems, doublers or twin fantasies, depending on how you look at it.
Speaker C: Yes.
Laura: And there's also a thing about parents kissing their kids or with assuming is your kids on the lips.
Speaker C: Yeah.
Ryan: It's weird.
Laura: A lot of weird kind of sexual connotations with parents and their children in both of those films.
Ryan: It's weirdly incestual.
Laura: Because this part is weird. It looks as though they're going to kiss right at the end before she realizes that she shot the wrong son. Even though she didn't actually shoot no bad boy son.
Ryan: Yeah. With her mistake, she shot the right bad boy son.
Speaker C: Yeah.
Laura: But there was a part earlier in the movie where she thought that Tod was Terry. And she's laying in bed because he carries her wine soaked body into bed.
Speaker C: Yes.
Laura: And she thinks that he's Terry. And she's, um, give your mother a kiss and he kisses her right on the lips.
Speaker C: Yeah.
Ryan: You don't kiss your mother on the lips. What is that?
Speaker C: Yeah.
Ryan: You don't kiss your mother on the lips.
Laura: You don't kiss your daddy on.
Ryan: The lips.
Speaker C: No.
Ryan: You don't know where those lips have been. You do not do that. It's as simple as that.
Laura: Um, I don't know where their lips have been.
Ryan: You know where their lips have been. Could have been anywhere.
Laura: Very weird.
Laura: John Grismr takes, I think.
Ryan: Yeah. Uh, well, he didn't make another film after this.
Laura: No. I liked both of his movies that he directed.
Ryan: Yeah. They're both fine.
Laura: They're both worth watching. They're both fun. I really liked scalpel. There's not a dick in Scalpel.
Speaker C: No.
Ryan: There's a fantastic bit in Scalpel where, uh, the lead character, the doctor, is describing how his wife died, and it's him in a paddleboat, like circling his drowning wife in a lake.
Speaker C: It's great.
Laura: It's very funny.
Ryan: It's very funny.
Laura: That movie is pretty funny.
Speaker C: Yes.
Ryan: Uh, she just caught herself in trouble in deep water. And, uh, she must, uh, have just been unable to find herself back to ground. And it's just him in a fucking paddleboat. That's a bad dad. The only thing that would have made that scene better is if the paddle boat was shaped like a fucking duck.
Laura: This film also ends on a freeze frame.
Speaker C: Good.
Laura: Love that.
Ryan: I like a freeze frame also ends I mean, it ends with such a level of ambiguity. More than likely, that boy is just going to end up back in hospital and the truth will never come out.
Laura: Well, I think the truth will come out, but I do believe that he is scarred for life. Yeah, I would agree.
Ryan: Stunted.
Speaker C: Yeah.
Ryan: Well, I mean, he already.
Laura: Was wrong.
Ryan: Um, it's not cranberry sauce. I mean, to be fair yeah. We're going too deep into it, thinking there's a little bit more to it than there actually is.
Laura: That's okay. It's fun. This is what we do here. We're having a good time. I love this type of movie. It's got a classic gore element to it. It's funny. Your murderer is pretty funny. The murderer showers with his shorts on. He has maybe five different costume changes in the course of an evening because he keeps getting blood all over him. But he wants to be clean and make sure his hair is properly feathered. And it's goofy.
Ryan: It is goofy. That's 100%.
Speaker C: Sir.
Ryan: It's a goof house. Cockadoodle do.
Speaker C: Yes.
Ryan: Gobble, gobble, gobble, gobble.
Laura: Yeah, that's the right bird.
Speaker C: Sorry.
Ryan: Let's get to our.
Laura: Ratings. So I'll go first. And we've already talked about how this is a bit of a stretch. I'm going to give it a .5. It's not amazing. But it's also maybe I could give it a little bit more because it's natural. Uh, in a way, potentially. I don't know if he tried to conceal it. I don't know if he just fell backwards that way and it just happened to come out.
Ryan: They might have done a Will Smith with it and, like, taped it to his leg or something.
Laura: It moves, though. It does move.
Ryan: It could have they might have gave it some give. He didn't feel the need to shave before doing that scene.
Laura: The 80s.
Ryan: He is pubes everywhere. This is the 80s garden.
Laura: And you know what? Don't pube shame anybody, all right? Why?
Ryan: Because what are you trying to say?
Laura: It's natural and big bushes of the 80s are coming back?
Ryan: I mean, this is pretty big bush.
Laura: You're really talking about how big these bushes are, but I did not notice that.
Ryan: I think any bush you see, I'm like, there's some know is that what.
Laura: It'S like when I see a penis on screen and I go, Whoa. You see a big bush or any type of bush, you go, Wee.
Ryan: I go wee. There's some bush I've got no issue with.
Laura: Like, call me Gavin Rossdale, because, um bush.
Ryan: Yeah, well, here's the thing. Um well, I don't have any issue with that because I barely tend to my.
Speaker C: Garden.
Ryan: Out of all the things that have been said on this podcast, that's one of the tamest things that's fair.
Laura: So I'm giving that full frontal scene a 0.5. And do you want me to give the film rating now?
Ryan: Well, no, I'll give my scene rating first, and then we can do the okay.
Laura: Visibility and context. Rye dog.
Ryan: Uh, I mean, it's like a 0.5 or a one or something. Yeah, because at least we see something. But it might just have to be a 0.5. It's so brief, and I think I've gone into too much detail about the pubic hair.
Laura: Maybe you're a little bit obsessed.
Ryan: Maybe we can just move on.
Laura: So I gave the film an overall rating of a 3.5, okay. Because I liked it more than in the middle, but I didn't really like it. Is this a film that I would potentially watch again? Yeah, I'd probably watch it again.
Speaker C: Yeah.
Laura: It's, uh, short. And you got to love a short film.
Speaker C: You do.
Ryan: But it doesn't feel short. It kind of feels incomplete.
Laura: But I think it's because you get taken out of the film so many times by shots being out of focus, audio being weird little things like that kind of take you out a bit. Okay.
Ryan: Which maybe technical aspects of the picture are, uh, what really bring this film down. Not the story.
Laura: No, the story's perfect.
Speaker C: Right.
Laura: Okay. And Jesus, the one part where I really got taken out is where the mother is on the phone with the.
Ryan: Operator for maybe an hour.
Speaker C: Yeah.
Ryan: That felt like the longest moment in. Human history is that poor woman's attempts to try and get a hold of her boyfriend through the most difficult way.
Laura: It seems as though they didn't tell her that they were still rolling, or they didn't tell her that they were rolling and she was just adlibbing this weird conversation on the phone.
Speaker C: Yes.
Laura: Because she's not speaking at a normal volume either. She starts whispering yes, and it's very hard to follow what's happening. Even I go, who is she talking to?
Ryan: Yes. Well, certainly when the thing that is in focus is the cushion of the sofa that's, like, closest to camera as well. And you're just kind of like, right, okay. And the back of the phone receiver that's like, slightly in focus. Or the phone itself, uh, really doesn't matter.
Laura: Uh, I do apologize for interrupting you during your ratings. Go ahead.
Ryan: I'll be quiet. Yeah, well, I only gave it a three because it is slightly better than average. And I did say in my review that I thought that with an audience, this film would probably be a bit of a riot.
Laura: It's one of those a classic cult classic. We're here to give thanks to our.
Ryan: Family complex Blood Rage, to our boner Blood Rage nightmare at Shadow Woods, uh.
Laura: To our Slashers, to our twins, and to our moms.
Ryan: Well, I gave it yeah, well, maybe your mom, but I mean, um, yeah, I gave it three, and I don't think it deserves any more than that. It is a laugh, though. Like, the film is a bit of a laugh, even if it's a little bit of a head scratcher because of how kind of OD it is at times.
Laura: It could be one of those that grows with you. So the more that you watch it, the more goofy it gets, the more fun you have with it.
Ryan: Yeah, I doubt it. I think, um yeah, that's fine. If I want to watch a film about big wine that isn't sideways, then it's probably going to be Blood Rage.
Laura: Hell, yeah. Uh, well, gosh.
Ryan: Good golly. I might go get myself some big wine.
Laura: I know I'm ready for a big glass of wine.
Ryan: Yeah, let's get some big wine.
Laura: So thirsty.
Ryan: We still have time to go to the end. Zion, do you want to go watch it again?
Speaker C: Yes.
Ryan: In like, an hour. Let's go. All right, cool.
Laura: We got to get out of here and watch Blood Rage again.
Ryan: Yeah, we're going to go pay to watch Blood Rage if there's still tickets available.
Laura: Well, goodness gracious. And let's give thanks ryan, great balls of big wine. Thank you for being here, uh, for our, uh, Thanksgiving first Thanksgiving episode. The next one's going to be a doozy, y'all.
Ryan: It's messed up.
Speaker C: Yeah.
Laura: The next one no spoilers. But that next film we're going to do is, um racist.
Ryan: Yeah, it's a little bit racist. Super racist. Super racist. It's pretty bad.
Laura: Pretty bad.
Ryan: It's pretty bad. So I'm genuinely looking forward to it because it's going to be a fucking.
Laura: Ride. So stay tuned for that. Uh, make sure that you are following us on the social medias. We're everywhere that you want us to be. Uh, if you're not already, subscribed to the podcast. Wherever you get your podcast, make sure to do that. So it just, like, slips right into your sexy little ears every other Friday. And coming to you from this weirdly clean community pool, no matter how many dead bodies were thrown into it, big Wine coming to you from Big Wine.
Ryan: There you go. Big Wine.
Laura: Big Wine. I have been Laura Ryan. Make sure to start buying your stuff for Thanksgiving so you don't sell out.
Speaker C: Yeah.
Ryan: Get your turkey and your stuffing. I've never really done Thanksgiving until I came to the States. Well, I met you and you're American.
Speaker C: Yeah.
Laura: So then I wanted a lot of potatoes.
Speaker C: Yeah.
Ryan: So basically, it's like making a Christmas dinner at the end of November.
Speaker C: Yeah.
Ryan: And then you make another Christmas dinner. Christmas, uh, time a month later.
Laura: It's the best meal that's out there.
Ryan: The Christmas dinner is the best meal. And we do a vegetarian version. So it's going to be good. It will be all right, y'all.
Laura: Uh, thank you for being here. And we will see you next time for this super racist movie that we picked for the next film.
Ryan: Yeah, but at least the dick has a five star rating. Yeah, there's no skipping over those bad boy. No, it sits there. It's in attendance two weeks.
Laura: Goodbye.